"Hoosier Ink" Blog

Showing posts with label Structure. Show all posts
Showing posts with label Structure. Show all posts

Friday, February 22, 2013

Interview With Author, Lawyer, and Pastor Randy Singer

by Jeff Reynolds

Today, I have the privilege of interviewing my favorite author. Randy Singer has ten novels out, and his eleventh, Dead Lawyers Tell No Tales, is due out this May. Also in his portfolio are the novella The Judge Who Stole Christmas and a couple of non-fiction works he'll describe in the interview. Does an accomplished author like this have a day job? No. He has two, which are also mentioned below.

I've read his first nine novels as well as his novella. My favorite is The Cross Examination of Oliver Finney (recently re-issued under the title The Judge). One of the best Christian novels I've read is Self-Incrimination. Not only is the story great, but he takes the challenge of telling it in the first-person from a female perspective and having the protagonist of an earlier novel play the role of antogonist.

Jeff Reynolds: Randy, first it's an honor to interview you. If memory serves me correctly, you were a lawyer for the North American Mission Board (Southern Baptist). That sounds like an interesting position. What was it like, and how did that experience prepare you both for your literary career and your current day jobs of litigation lawyer and teaching pastor?
Randy Singer: For several years I had the privilege of serving as the lawyer for the North American Mission Board (NAMB) and as an Executive Vice President. NAMB’s mission was to help Southern Baptist Churches start new churches and share the gospel in North America. I worked with some of the most dedicated Christians I have ever known, both at the National and State levels. When you are part of something that big, there’s never a dull moment!

One of the greatest things about that job was seeing God work in diverse ways. From cowboy churches to hip urban churches and everything in between, it was great to see the different ways churches were adapting to their culture in order to share the gospel message with credibility.

Being around some of the best evangelists and apologists anywhere helped me understand a few things about our culture as well. For one thing, God showed me the power of story. At first, I wanted to write an apologetics book. As a lawyer working at a mission board, I thought I could come up with a unique perspective. But as I started writing that book, I discovered that everything I was saying had already been said by people smarter and more eloquent than me. Then God showed me how reasoning and logic will often fail to penetrate the defense mechanisms that people have built up. But stories go straight to the heart. One day, as I was flying in an airplane and the person next to me had his nose stuck in a novel (probably to avoid talking to me) I realized that he would spend twenty or thirty hours absorbing the worldview and philosophy conveyed by the author of that novel. That’s when God called me to be a storyteller and to share the deeper truths in life through novels.

My work at NAMB also helped prepare me for my dual jobs as a litigation attorney and a teaching pastor at Trinity Church. The heroes of the Southern Baptist Convention are the many bi-vocational pastors who do what Paul did–work in a secular pursuit and at the same time pastor a church. Among other things, this allows those of us who are bi-vocational to stay in touch with people who never darken the door of a church and reach them in ways that we could never do if we were only pastors. I also had a lot of experience with church starting at NAMB and this helped prepare me for my job as the first teaching pastor at Trinity Church, a place where I have been serving for the past six years.


JR: A subject that's discussed in ACFW circles and elsewhere is the preferred method of writing: Plotting/Outlining versus Seat of the Pants/Blank Page. Which approach do you use? Or does it vary from story to story?

RS:
I am a very committed plotter/outliner. Before I begin drafting my books, I will typically have a twenty-page outline and a very clear vision for the twists and turns in the story, including the ending.

However, now that I’ve concluded eleven novels, I realize that the final version of the book seldom looks much like that twenty-page outline I put together at the beginning. Does that mean I’m going to start writing by the seat of the pants? Not on your life! If nothing else, the outline gives me a security blanket and allows me to write with a direction in mind. You might find this shocking, but as a lawyer and pastor I tend to be somewhat verbose. If I didn’t have a detailed outline with an ending in sight, I think my books would be 800 pages. They are already on the long side so I’d better stick to the plotting approach.

I’ve found that many times I will write the book from the original outline until I get about two-thirds of the way through and then I’ll throw in a plot twist which changes everything. This makes it harder for the readers to predict the plot twist because I didn’t even know it was coming myself when I wrote the first two-thirds of the book. My perfect ending is a twist that catches the reader by surprise but still seems “fair.” The worst ending is something that catches the reader totally by surprise but feels like an ambush because it came out of left field and there were no clues or foreshadowing along the way.

JR:  One thing I enjoy about your novels is the development of your antagonists, like "Ichabod" in Directed Verdict, Irreparable Harm, and The Judge Who Stole Christmas and Mitch Taylor in Self-Incrimination. How do you create such interesting characters?

RS:
  Thanks for the encouragement. I work hard at developing three-dimensional antagonists. For each story, I will actually construct an entire biography for my antagonist. What made him/her that way? What motivates him/her? What redeeming qualities does he/she have? Etc. I’ve found that hardly anybody starts out in life just trying to be evil. In his/her own warped view, the antagonist usually believes that his/her actions are justified.

Most of that biography will never make it into the book but it helps keep the character consistent and realistic.

I also work hard to make my antagonist at least equal in terms of cunning, force of will, discipline, etc. to my protagonist. Even better if my antagonists have superior traits so that my protagonists can be the underdogs.

Next, I’ll have my antagonist do something that is admirable or noble. As a lawyer, I’ve learned that even the most despicable people have moments of honor.

Finally, I will go through the entire book once I have the first draft written and read it (and rewrite it, if necessary) from the POV of the antagonist. What would he/she be thinking here? What would he/she know here? How would he/she react?

JR: At this moment, you have eleven published novels. Which one was the most enjoyable to write? The most frustrating? The most rewarding?

RS:
This is a really tough question. It feels like: “Which of your children is your favorite?”

But since the Fifth Amendment doesn’t apply to author interviews, I’ll try to answer.

The book that was probably the most enjoyable (i.e. easy) to write was False Witness. It was my fifth novel and the first time I took the pressure off and quit trying to evangelize readers and just allowed myself to tell the story. The main character was based on a former friend of mine who had been in the witness protection program and had led a very colorful life. Writing that character was easy. There were also law students and a crusty old law school professor and a cool black lab—all of which are familiar parts of my life (I’m the crusty old law professor). The settings were Atlanta and Las Vegas, two interesting cities. That story came easy to me and to this day most people say it is the hardest one of my books to put down.

The most frustrating is probably a two-way tie. The Cross Examination of Oliver Finney and my most recent book, Dead Lawyers Tell No Tales, both stumped me. For both, I thought I had the plot all figured out at the beginning but really struggled to bring it all together in the end. I can distinctly remember during The Cross-Examination of Oliver Finney having such severe writer’s block that I had to get away from my normal patterns of life and go to the city that was the setting for the book, stay in a hotel away for about a week, and go for long walks and runs until I could work through everything in my mind. I isolated myself from everyone until I figured it out.

About halfway through my most recent book, Dead Lawyers Tell No Tales, I called my publisher and said that the book just couldn’t possibly work. It was time to move on to the next book instead. Karen Watson, my editor, talked me down from the ledge and told me to keep working on it. I'm very grateful because I think it’s turned out to be one of the strongest books I’ve ever written. It eventually came together and I look back on it now and find it hard to believe that I was ready to quit on this book.

The most rewarding book is always your first book, isn’t it? For me, Directed Verdict is when I learned that I really could write a novel and that people might actually read it and enjoy it.

But that book is now being surpassed by the one I’m currently working on. The Advocate will be released in time for Easter, 2014. That story is proving to be the most challenging and rewarding experience I’ve had as a writer. I tell people that I was born to write this book.

JR: There are additionally some non-fiction works in your portfolio. Could you tell us about them? How did your fiction experience influence your non-fiction writing and vice versa?

RS:
One thing I’ve learned is that both fiction and non-fiction are ultimately about storytelling. There is a reason that Christ taught in parables. Our brain is hardwired to respond to stories and our hearts are drawn to them. A good non-fiction book captures truth through real-world stories.

One of the non-fiction books I co-authored with my friend, Bob Reccord, is the book Made to Count. As leaders at a mission board, we were advocates for the biblical principle that laymen and laywomen are just as “called” as those who surrender their lives to full-time ministry. Made to Count is the story of men and women who share the Gospel in all kinds of ways (through their occupations, in their neighborhoods, etc.) outside the walls of the church. In church life we sometimes inadvertently treat those called into full-time ministry as the true spiritual giants and others as second-rate. Bob and I wanted to tell about the heroes that minister beyond the bounds of traditional ministry. For example, the book starts with a man who cleans port-a-johns for a living and includes those serving Christ in a number of secular professions including, believe it or not, lawyers!

I also wrote the The Cross Examination of Jesus Christ because I was intrigued by Christ’s confrontation with the lawyers of his day and what those confrontations teach us. The book contains a number of my personal experiences that I use as examples for how Christ can work in the most unlikely among us.

JR: One subject I find interesting both in regards to writing and to life in general is mentoring. Who would you consider your writing mentors? Also, you undoubtedly have had opportunities to mentor as an author, a lawyer, and a pastor. Any advice for us in either mentoring others or being mentored?

RS:
I've had wonderful mentors in all areas of my life, including ministry, my law practice, and writing. Four Christian authors who welcomed me to Christian fiction and have been very helpful along the way are: James Scott Bell, Angie Hunt, Brandilyn Collins and Robert Whitlow.

Mentoring others is one of the highlights of my life. I presently have a group of about 15 young men that I mentor on Sunday evenings. I’ve also had the awesome experience of mentoring high school boys who don’t have fathers in their lives. These young men become like sons to me and seeing them succeed in life and grow closer to the Lord is its own reward. Recently, I’ve had the opportunity to see my latest surrogate son play football at the college level which has been a fun experience for a guy like me who was too small and too slow to have that kind of career.

JR:  A common denominator/thorn-in-the-flesh your three responsibilities have in common is research. Does your research in one field ever light a spark in one of the other two?

RS:
 Great question. Many of my novels are sparked by real-life cases. God has given me a very interesting, diverse and challenging case load at my firm. Many lawyers end up doing the same kind of mundane cases week after week and year after year. However, I’ve had the privilege (I guess you could call it a privilege) of being involved in in some of the most unbelievable cases you could possibily imagine.

And usually, somewhere in the middle of a case, I’ll say to myself, “This would be a great novel but nobody would believe it!”

When a lawyer prepares a case for trial, there’s an enormous amount of research that goes into that subject matter. As novelists, we are taught that we write best those things we know the most about. For me, it’s a natural thing to let my real-life cases bleed over into my fictional ones.

For example, a little over two years ago I represented the daughters of Hamilton Somerville in a high-profile case where we sued their step-mother for poisoning their father. I learned more about evidence for modern-day poisoning cases in the context of that litigation than I could have learned as a writer doing months of research. Another example is a case I tried arising out of a school shooting. That case formed the basis of my book The Justice Game.

Readers often respond to authenticity in the stories that we tell. Nothing makes a story more authentic than basing parts of it on real-life events that we’ve lived through—actually experiencing many of the emotions and traumas of our main characters.

JR:  My guess is that your pastor's heart carries over into your legal and literary duties. What are your greatest burdens/concerns, and how do they motivate your preaching, writing, and litigating?

RS:
My overriding concern is for those who have never experienced salvation through Christ. Each of my messages on Sunday, and each of the books I write, are designed to help people take another step on their spiritual journey. Many of my books are designed to raise important spiritual questions and allow the readers to sort out the answers on their own. I’ve learned not to “preach” in my books. If people want to hear me preach, they can come to my church. My books should just tell a story that will entertain and, hopefully, point subtly toward some spiritual truth.

I’ve built a law firm on the principle that we should minister to our clients both by seeking justice for them and by being open to their spiritual needs. When people come in my door, they are frequently going through the biggest crisis in their lives. They need someone who will be a loyal advocate and not judge them. And yes, they need someone who will fight hard for justice. But they also need someone who will level with them and tell them the truth about the reality of what they are facing, both legally and sometimes spiritually. I hope that I can provide all the above.

JR:  I am grateful that you took the time for this interview considering how full a plate you have. What should we look forward to on the publishing end? And if we visit your church, what will you be preaching on?

RS:
As I mentioned in response to a previous question, I think that my next book may be the most important book I’ll ever write. It’s called The Advocate and it’s a first-person account of the two most important trials in the history of the world–the Trial of Christ and the Trial of Paul in front of Nero. Of course, many brilliant scholars have studied, dissected and reconstructed the trial of Christ in the past two thousand years. But we know very little about the trial of Paul in front of Nero. The Advocate is being written from the perspective of Theophilus, the court-appointed advocate for the Apostle Paul and a man who was an advisor to Pilate during Christ’s trial. My hope is to bring these two epic events alive in the context of this story.

At church from now until Easter I’m preaching on the final seven days of the life of Christ. Easter is my favorite day of the year and I’ve seen God do some incredible things during this season of Lent.


JR:  Thank you for your time and may the Lord Jesus Christ bless you.

RS:
  Jeff, thanks for asking me to do this interview and for your very thoughtful and insightful questions. I’ve had the opportunity to do a lot of interviews but your questions were unique and very insightful. Bless you!

*    *    *    *    *

You can learn more about Randy Singer at his web-site, http://www.randysinger.net

Friday, December 23, 2011

Interview with Scott Nehring, author of You Are What You See: Watching Movies Through A Christian Lens

Last month, I reviewed You Are What You See: Watching Movies Through A Christian Lens by film critic Scott Nehring. I had the privilege of hearing Christian film critic Scott Nehring on Chris Fabry live (3-5pm on WGNR-FM, 97.9). Nehring's reviews have been syndicated on several websites including Reuter's, USAToday, FoxNews, and The Chicago Sun Times.


This book has a lot to say about how we look at movies as a Christian, but I also saw elements that spoke to writing. This month, I have the privilege of interviewing Scott Nehring.


JR: How did you get started writing movie reviews?

SN: I began in 2004 when I started my first site. I had gotten tired of the usual reviews I found online. It seemed most critics either didn’t have any idea what they were talking about or they were insufferable snobs. I thought I could step in and try to fill that gap.


JR: What are the most memorable responses (positive or negative) you've received to either your book or to your reviews?

SN: My personal favorite was having a woman named Tessa telling me she hoped I “get raped and contract A.I.D.S.” for my negative review of The Constant Gardner. The flood of responses for my calling Avatar the worst movie ever made (it is – and unbelievably racist to boot) is also another feather in my cap. It's always nice to receive compliments, but it's also fun to get someone riled up enough to slam your work.


JR: Have you ever tried your hand at writing fiction?

SN: Yes. I have been writing screenplays since I was child. I wrote my first screenplay when I was 12. I moved into writing stage plays in my late teens. I have been produced and enjoyed some minor success, but nothing to put a roof over my head. I’m living proof that just because you know what you’re doing, it doesn’t mean you have the talent and luck to pull it off. I backed away from fiction writing in 2004. Since then, I have found that my talent rests more in deconstructing stories and helping others learn how to see the components of a properly told tale.


JR: This leads into your book. The second section deals with the structure and character types common in movies. What do you think a budding Christian novelist can learn from that section to help their writing?

SN: As explained in my book, the structure and character archetypes found in story are engrained in us. These structures are instinctive to us and are used to influence how we communicate and understand concepts. By understanding how these narrative mechanics work and how they can be applied to our stories, the Christian writer can improve their work and make their tale more enjoyable to the reader.


JR: If you were to write a novel or screen-play, how would your experience as a film critic and writing You Are What You See influence it?

SN: The process of writing You Are What You See forced me to consider how I watch film. It also forced me to think about the kinds of stories I used to write and how I went about writing them. I went through a serious maturing process in regards to how I look at my work while putting the book together. I believe that would come through in my writing. I would be far more conscious to the messages I was weaving into the narrative and more aware on how those messages would play in the final script.


JR: Picture hundreds of Christian novelists listening for any advice/exhortations in reaching today's culture. (Okay, make it more like a dozen novelists.) We're all ears. How would you like to challenge us?

SN: The Christian writer has a responsibility to do more than simply write – they need to express their faith in their work. If you call yourself a Christian then your work inescapably reflects your faith. This being the case, you need to do your best to release works that glorify the Lord and the gifts He has provided to you. In short, we don’t glorify God by making crap.

Look at the culture we live in today. It is hollow and stagnant. This is because it is secular and only serves itself. A hundred years from now – I take that back, 20-30 years from now, how much will remain from this moment in cultural history? The Arts and the culture they produce have become disposable and ultimately useless.

Christian artists need to realize that when people complain about the state of our culture, it is their fault. The Arts have fallen into disrepair because over the last 60 years we have failed to fight for and protect them. We have handed over our role as cultural leaders and now see the results of that surrender. The time has come for Christian artists and writers to work towards reclaiming the culture. This is done by creating valuable works that aren’t just mimicking the latest fads or playing to the most sensitive and restrictive members of our audience. If we make works that are intellectually and artistically fulfilling -- ones that challenge the artist and the audience -- we can begin to make the changes in this society towards a more fruitful and productive future.

JR: Thank you very much for your time, and also for writing this excellent book.


If you want more information on Scott's book, go to http://www.YouAreWhatYouSee.com. You can also access Scott's movie reviews at http://www.GoodNewsFilmReviews.com.


Friday, November 25, 2011

Book Review – You Are What You See: Watching Movies Through A Christian Lens" by Scott Nehring

This blog is being posted on Black Friday. Many of you are on the look-out for the ideal Christmas present. Others are content to let your spouses do the shopping (my hand's up here) and may be more interested in seeing a movie. If you are a shopper whose significant other is heading to the theater, I have the ideal gift for you.


But wait a minute. I hear some protests. This blog is not about watching movies, and definitely not about shopping. Objection noted, but allow me to continue and I should prove why this book about movie watching should be on the must-buy list for every Christian writer.


I had the privilege of hearing Christian film critic Scott Nehring on Chris Fabry live (3-5pm on WGNR-FM, 97.9). Nehring's reviews have been syndicated on several websites including Reuter's, USAToday, FoxNews, and The Chicago Sun Times.


Chris mentioned Scott's book You Are What You See: Watching Movies Through A Christian Lens in the course of the interview. I read this book based on my interest in movies and having a cinemaphile for a father. Through the course of reading, I discovered things to think about as a Christian novelist.


The epigraph sets the tone for the book: “We have come from God and inevitably the myths woven by us, though they contain error, will also reflect a splintered fragment of true light, the eternal truth that is with God.” (J. R. Tolkien)


Nehring's book is divided into three sections. The first establishes the role of movies in our society for better and mostly for worse. He shows that today's films are helping lead our culture to collapse and Christians have the role of setting our society back on solid ground.


The second section captured my attention as a writer. It establishes the fact that a movie is a story and deals with structure and character types. His premise is that in essence every film has the same structure with the same types of characters popping up here and there. He believes this story structure is engrained in us.


I found this part very helpful for having more knowledge on my craft. It points out what readers expect from a story. Of course, there is a part of me wondering where I can bend the rules in a way that will surprise the reader and keep them reading, as opposed to shocking them and having them throw my book across the room.


In the third section, Nehring challenges Christians to take an active role in the culture. This includes a discerning eye in watching movies (and I believe the principles apply to other forms of entertainment, such as reading novels). He also challenges Christian artists to engage the society with high quality product that deals with real-life issues.


This is added: There are two interesting appendices to the book, looking at the structure in Pulp Fiction and the Lord of the Rings trilogy. I found the latter to be very interesting.

Next month, I'll be having an interview with Scott Nehring about the book and writing. If you want more information on the book, go to http://www.YouAreWhatYouSee.com. You can also access Scott's movie reviews at http://www.GoodNewsFilmReviews.com. And of course it's on Amazon, where you'll see a variation of this review by yours truly (among a few others).

Thursday, September 8, 2011

Lessons I learned from Michael Hauge PART ONE

I first learned of Michael Hauge when I did a Google research for writing help, which ultimately ended in a visit to writersstore.com. Once I purchased and listened to Hauge’s lectures , which were recorded live at the Screenwriting Expo, I felt as if I’d found a hidden treasure. My favorite Hauge lectures are Grabbing the Reader in the First Ten Pages, and Writing Powerful Movie Scenes.

Michael Hauge is an author, lecturer, and script consultant who has coached such stars as; Will smith, Julia Roberts, Jennifer Lopez, and Morgan Freeman. Not only has he worked for every major studio and network in the industry, but he’s also given lectures to over 40,000 participants.

One of the lessons I took away from Michael’s lecture is the idea of story-structure plot placement. In short, this is the movie industries’ tightly woven plot structure measured in movie minutes (a movie minutes is usually equal to one page in screenwriting). For example, most good movies consist of a four-act structure divided into equal segments. The four acts are: Act one (the beginning), act IIa (first half of the middle), act IIb (second half of the middle) and act III. Not a shout-it-from-the-street epiphany, but definitely a help in story pacing.

I decided if this concept helps make a better story, then I wanted to understand and use this device in my novel writing. That’s when I took my laptop to the library and gathered a stack of Disney movies. I chose Disney because I knew they were usually successful movies. Below is an example of the acts/plot divisions I found in the Pacifier.
The Pacifier (movie length 90 minutes)

FIRST 25-percent; Act one leads up to the inciting incident (22 minutes into the movie) where Act II begins the SECOND 25% with the main character receiving a phone call and learning he is stuck taking care of the children "a few more days." This begins the story problem where the main character enters a new world which is completely out of his comfort zone.

THIRD 25-percent; Act IIb begins at 45 minutes (the HALF WAY MARK) where, until now, the children don’t like the main character and want him to leave their house. But when the Ninja's attack, they change their minds and want his protection. Here the story line went from passive to progressive; he was there to baby sit and watch over them, but now it is clear they are in danger and he is their protector.

FOURTH 25-percent; Act III (the last act) begins at 68 minutes(75% into the story) when the mother guesses the password and opens the safe (a major accomplishment for her storyline). The main character receives the phone call that Mom is coming home and he is no longer needed. He’s faced with leaving the "new" odd world where he’s been like a fish out of water and return to the Navy Seal world he knows best. At 71 minutes the main character discovers the secret passage (which contains the secret they've been trying to find), Mom arrives home, the main character prepares to leave, but the Ninjas arrive with guns and after a lot of action the story finds a happy ever after.

After pursuing several stories, I discovered that most successful stories follow this same timeline of having major plot points at 25-percent intervals. Apparently, the public is attracted to this evenly-paced structure, which is evidenced by the movie’s success. This gives the writer a guideline (not a rule) to critique his or her story. Of course, there are always exceptions. This structure is only a guide—not a hard and fast rule.

Opinions and comments?